![]() That put Gardiner in the right place to link up with Bowie and Iggy during their legendary Berlin era. ![]() The band’s initial run wrapped up in 1973, but the following year a new version of the band including Ricky and Virginia began recording for Jupiter Records out of Germany. In 1970, before the release of their second album Waters Of Change, the band added mellotron player Virginia Scott, who later married Gardiner. In 1969 he co-founded the prog-rock band Beggars Opera in Glasgow they toured hard around Europe and found success in Germany, including an appearance on the popular TV show Beat-Club. Thanks for the memories and the songs, rest eternal in peace.” Gardiner was 73.īorn in Edinburgh in 1948, Gardiner got his start in 1960s teenage rock bands including the Vostoks, the Kingbees, and the System, though he claimed on his official website to be able to sing Italian arias as early as age 2. In a separate post on Twitter, Iggy Pop wrote, “Dearest Ricky, lovely, lovely man, shirtless in your coveralls, nicest guy who ever played guitar. “Another guitar genius and personal friend passed into the next world last night,” Visconti wrote. Bowie producer Tony Visconti shared the news in a Facebook post today, having learned of it via Gardiner’s wife Virginia. ![]() From jazz there’s Elvin Jones and his brothers Hank and Thad, along with Yusef Lateef, Milt Jackson and Kenny Burrell, to name a few there’s the hypnotic blues of John Lee Hooker the famous Motown sound and a slew of soul belters including Jackie Wilson, Wilson Pickett and Aretha Franklin.Ricky Gardiner, a Scottish guitarist best known for his work on classic records by David Bowie and Iggy Pop in the late 1970s, has died from Parkinson’s Disease. He takes off his reading glasses and shirt, and it’s as if you pushed a button and he turns into the Hulk! When we did ‘I Wanna Be Your Dog’ in German, (‘ Jetzt Will Ich Dein Hund Sein’), my stage instructions were to just stay out of his way, which thankfully I did, or I would have undoubtedly been struck in the head by a flying microphone.”įor generations Detroit has consistently churned out touchstones of American culture. ![]() Iggy is incredibly smart, with unexpected interests, one moment he’s talking about something he read in The New Yorker, and then it’s time to go onstage. “He is one of the most curious, invested people I’ve ever met, incredibly informed, with a huge knowledge of music, both practical and in theory. It’s not like these guys were staying in fancy hotels. Bands are always finding themselves in fucked-up places. As Jarmusch pointed out, “there was no attempt to dress anything up or create elaborate backgrounds. He has not led a normal life.”ĭespite this reputation as rock’s reigning enfant terribles, Gimme Danger shows Pop and his fellow Stooges recounting the band’s mad, ragged journey with surprising clarity, humor and affection, without relying on shocking interview settings to heighten the drama. I’m drawn to characters who choose their own paths, and a great iconic master of that is Jim Osterberg. But there is one thing, a connection I found. It’s not my job,” Jarmusch explained over the phone. The archival photos and film clips are both clever and sumptuous but whatever holes in the narrative Jarmusch needed to fill are illustrated with animation by James Kerr’s caricatures of the Stooges, which resemble a pack of jittery hippies that escaped from a lost canvas by 15th-century Flemish painter Jan Van Eyck. But after one listen to Iggy’s feral howl on album opener “Down on the Street” it was clear-this album was radical, in the purest sense of the word. Compared to the masculine growl of Jim Morrison, Iggy and the Stooges, I was informed, were “wimps…pussies.” As a new band on Elektra Records, they could only, at best, stand in the shadow of the glorious Doors. When I first brought the Stooges’ Fun House to school, it instantly ignited the wrath of my clique. They linked you to something greater than yourself, beyond your little life in your little town. Like a badge, a talisman, a pelt, they had transcendent power, proof you’d really been somewhere. For us, records represented something more than music. In the early ‘70s, the group of kids I hung out with would religiously bring whatever new album they’d discovered to school to show it off to their friends. Photo by Tom Copi/Michael Ochs Archive/Getty Images Iggy Pop of the Stooges rides the crowd during a concert at Crosley Field on Jin Cincinnati, Ohio.
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